What I see listed IN that article for UK Club are a few more recent movement I’m aware of and a LOT I’m not:
"As a genre, club is both specific and vague. Club is not house or techno, though it might include elements of both. There might be breaks, but it’s not drum & bass. It’s intimately related to another vague non-genre, “bass”. The word club tries to capture the cross-pollination of previously hyperlocal sounds as they make their way across continents and back again, but in clumping those disparate sounds together, the cultural specificities that gave rise to each style can become blurred or forgotten.
Club isn’t a genre in itself, but if we try to imagine “UK club” as something distinct, it seems to be an outgrowth of soundsystem culture that looks sideways rather than forwards, listening out for shocking new sounds to splice into its vision."
- TSVI finds himself looking to China, Morocco, and South Africa for inspiration: scenes like gqom in Durban, North African artists like Deena Abdelwahed and ZULI, Shanghai avant-club label SVBKVLT, and the scene orbiting Nyege Nyege Tapes in Kampala.
- Sherelle is fusing jungle and footwork at 160BPM.
- Bristol, experimental bass-techno continues to emanate from established post-dubstep outlets like Livity Sound and Tectonic. See our Bristol Bassy Techno.
- Manchester is arguably the current hub of whatever “UK club”. The Swing Ting crew are pushing everything from modern dancehall to Brooklyn-bred FDM and new spins on garage and grime through their long-running party and label.
- Scratcha DVA is putting a UK spin on South African gqom. UK Gqom sound slotted in perfectly with an ongoing reboot of UK funky, with labels like Nervous Horizon purposely exploring funky’s intricate, hard-hitting rhythms and splicing them with ballroom, techno, and gqom. Scratcha DVA has been carrying out a systematic investigation of gqom’s applications, crafting his own signature “UKgqom” tracks and, just this month, Drmtrk EP of stripped back blends of gqom and R&B. And alongside the recognisable building blocks of the South African sound (menacing bass drones, syncopated percussion) there’s been no ignoring the solid thwack of Middle Eastern drumming in recent UK club hits like TSVI’s ‘Whirl’ and DJ Plead’s ‘Baharat’, both on Nervous Horizon.
- Tash LC, Mina and Hipsters Don’t Dance mixed soca, dancehall, and Afropop to perfection and Manchester’s Murlo booked Stylo G at his club night. Gloomy London duo Raime dropped a mixtape of their own dancehall versions. Orlando produced dreamy pop riddims with Jamaican MCs, and Mr. Mitch carved out his own “techno dancehall” sound over two mixes for Rinse.
- Finn finds connections between Jersey club, ghettotech, and French filter house to create his signature brand of #fastmusic in the 130-140BPM range
Looking back on the evolution of this style, Finn, Sherelle, and TSVI all credit Night Slugs as a chief influence on the current wave of club music, both inside the UK and out. Artists like Bok Bok, Jam City, L-Vis 1990, and Atlanta-based Helix integrated sounds from both sides of the pond, combining the spartan aggression of grime with the jackhammer rhythms of Jersey and Baltimore.(Yeah this looks like a definite UK response to Jersey and Baltimore Club)…"
Finally a blurb about Deconstructed Club: “deconstructed club music, along with early grime instrumentals like Wiley’s drum-free “devil mixes”. TSVI also namechecks Night Slugs artist Egyptrixx and his 2011 album ‘Bible Eyes’ as a prototype for the deconstructed sound, “taking elements from various genres, but taking them out of context.”” and maybe a mention of Weightless Grime ?
